tag:blogger.com,1999:blog-30897310202652645932024-02-07T06:19:53.172-08:00Reasons to be GladJeff Scherhttp://www.blogger.com/profile/13779176937443909559noreply@blogger.comBlogger15125tag:blogger.com,1999:blog-3089731020265264593.post-16276300438064890672011-02-23T10:38:00.000-08:002011-02-23T11:00:26.248-08:00Berlin, a movie I could live in.<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOnx5LSHMpQJCXgMEzneahGY8PKhp6D8ReWFPJSv3zbjTrU3XnJqFzTogT5s7bL5KJmhqUN5X-4KOR44wruut3dfuM09BUButOjFJtyoU7A_uTkIxIbHZDIw6cXcqmlNmAl4xXsGXoTC0/s1600/page108_blog_entry209_summary-1hgfh76hfsg.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 306px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOnx5LSHMpQJCXgMEzneahGY8PKhp6D8ReWFPJSv3zbjTrU3XnJqFzTogT5s7bL5KJmhqUN5X-4KOR44wruut3dfuM09BUButOjFJtyoU7A_uTkIxIbHZDIw6cXcqmlNmAl4xXsGXoTC0/s400/page108_blog_entry209_summary-1hgfh76hfsg.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5576958291662501826" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaQEcvjqLEOgE8wu4VNSVC193p8q1Ue5n21gZOXdM0xnA9zDmFzNWQML3jOqHhyphenhyphen-1SR2bAsjJ3qe7nCxaMVsM5YXg8wwOVrDOTZk-NIwMfwcWgmVwvIItydPy6BEQ9DY-wUnDL33miXQk/s1600/4688312007_4c1f0e83fa.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 225px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaQEcvjqLEOgE8wu4VNSVC193p8q1Ue5n21gZOXdM0xnA9zDmFzNWQML3jOqHhyphenhyphen-1SR2bAsjJ3qe7nCxaMVsM5YXg8wwOVrDOTZk-NIwMfwcWgmVwvIItydPy6BEQ9DY-wUnDL33miXQk/s400/4688312007_4c1f0e83fa.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5576958291583056930" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlliVxbTy126gIicau-TXQisHQhgnLAaazvWAq5jRR98WfqBylj9atGMYOBnMHulW9p-nAHLMaWpZirtJmP7TgNeZBu8P62RXSsnMqRZHkz1bQlPv_EIy5bXhXfXRQG2-QQIqDg9iNqkY/s1600/berlin2.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlliVxbTy126gIicau-TXQisHQhgnLAaazvWAq5jRR98WfqBylj9atGMYOBnMHulW9p-nAHLMaWpZirtJmP7TgNeZBu8P62RXSsnMqRZHkz1bQlPv_EIy5bXhXfXRQG2-QQIqDg9iNqkY/s400/berlin2.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5576958292046167586" /></a><br /><p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Times New Roman"><span class="Apple-style-span" style="font-family:verdana;"> </span><i><span class="Apple-style-span" style="font-family:verdana;">Berlin, Symphony of a Great City</span></i></p><p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Times New Roman"><span class="Apple-style-span" style="font-family:verdana;"><i>A few notes by Jeff Scher</i></span></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Times New Roman; min-height: 15.0px"><span class="Apple-style-span" style="font-family:verdana;"><i></i><br /></span></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; text-indent: 36.0px; font: 12.0px Times New Roman"><span class="Apple-style-span" style="font-family:verdana;">Jean Cocteau once said that Cinema captured death at work. I take that to mean that film, by definition, records time as it changes from the present to the past. Movies are instant histories; watching them is like looking through a window to the past. </span><i><span class="Apple-style-span" style="font-family:verdana;">Berlin, Symphony of a Great City </span></i><span class="Apple-style-span" style="font-family:verdana;">is a motion picture portrait of Berlin from dawn to midnight on a day in 1926 – a perfect window</span><i><span class="Apple-style-span" style="font-family:verdana;"> </span></i><span class="Apple-style-span" style="font-family:verdana;">to that long gone time and place. While simple in concept, it manages to defy genre classification. It is a documentary composed of breathtakingly beautiful images of everyday events with the power to create the overwhelming sense of travelling through time for the contemporary viewer. It’s also an experimental film with its rhythmic editing and its ability to seamlessly combine the abstract with the representational. You could even make a case for the film being a narrative, telling the story of a city as protagonist and the transformations that times of day have upon it and its citizens. </span></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Times New Roman; min-height: 15.0px"><span class="Apple-style-span" style="font-family:verdana;"><br /></span></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Times New Roman"><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:verdana;"> </span></span><span class="Apple-style-span" style="font-family:verdana;">The director, Walter Ruttman, was a painter who abandoned the canvas for the screen. His early films were among the first abstract animations ever produced. </span><i><span class="Apple-style-span" style="font-family:verdana;">Berlin,</span></i><span class="Apple-style-span" style="font-family:verdana;"> in fact, opens with shots of light on water-waves before dissolving into a stunning, brief, abstractly animated overture to the film. Suddenly, we are launched down the tracks of an early morning train trip into Berlin. Short shots of the countryside peeling away, followed by factories on the outskirts, little gardens and clusters of shacks, then buildings, growing bigger and bigger, build excitement in anticipation, like a drum roll, until we are in the heart of the city. It’s five minutes of pure cinema, and only a taste of the epiphanies to follow.</span></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Times New Roman; min-height: 15.0px"><span class="Apple-style-span" style="font-family:verdana;"><br /></span></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Times New Roman"><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:verdana;"> </span></span><span class="Apple-style-span" style="font-family:verdana;">The film is a catalogue of human activity in an urban setting. The fact that no single human character is followed makes it about humanity in general. It’s strange, as a New Yorker, to realize how much of the urban experience we share with these strangers; shopping, working, eating lunch, going out in the evening. Being urban is a kinship greater than nationality. There is a sense of things being the same but completely different that haunts you while watching the film. The cars are as alien as science fiction, but it’s just style and design that has changed. It’s as though you’ve travelled to a parallel universe where everything is generally the same, but completely different in detail. A poignant if horrifying subtext to the film is the fact that the we see in its prime will politically implode and be reduced to smouldering brick heaps within the lifetimes of most of its population.</span></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Times New Roman; min-height: 15.0px"><span class="Apple-style-span" style="font-family:verdana;"><br /></span></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Times New Roman"><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:verdana;"> </span></span><span class="Apple-style-span" style="font-family:verdana;">The editing of the film is also amazing. No shot overstays its welcome in a brisk, inventive hour-long montage. The editing strategy varies from the painterly lyrical (everything moving along lines) to the musical (rhythms of composition), to narrative and social commentary (mini two-shot stories). Other montages work a more overt itinerary; men marching to a factory to work are intercut with cattle being herded to a slaughterhouse. It’s part of the joy of this film, that it employs so many different flavours of shot interactions, with each shot being so beautiful in its own right. </span></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Times New Roman; min-height: 15.0px"><span class="Apple-style-span" style="font-family:verdana;"><br /></span></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Times New Roman"><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:verdana;"> </span></span><span class="Apple-style-span" style="font-family:verdana;">Ruttman and his principle cinematographer Karl Freund invented all sorts of ingenious methods of making their cameras invisible in the pursuit of raw screen reality. They used mirrors, trucks with holes cut in panels and even a hand held rig that involved an extra-large coast with prosthetic arms folded in front. While the camera sat on a tray strapped to the cameraman’s shoulders, his “real” hands were inside the coat cranking the film, unobserved in the midst of crowds and face to face with unsuspecting strangers on top of open buses. There is a uniquely un-self-conscious quality to footage shot this way, and it gives you the eerie feeling of invisibly being there, yourself, like the Angels from </span><i><span class="Apple-style-span" style="font-family:verdana;">Wings of Desire.</span></i></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Times New Roman; min-height: 15.0px"><span class="Apple-style-span" style="font-family:verdana;"><i></i><br /></span></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Times New Roman"><i><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:verdana;"> </span></span></i><span class="Apple-style-span" style="font-family:verdana;">Ruttman was a master of the medium. He worked with Leni Riefenstahl on the legendary </span><i><span class="Apple-style-span" style="font-family:verdana;">Olympia.</span></i><span class="Apple-style-span" style="font-family:verdana;"> I suspect he had a huge influence on the film but I recall Ms. R mentioning and downplaying his input on her film in her self-aggrandizing (and pseudo-apologetic) autobiography. Ruttman himself went on to make more city symphony type work before dying on the Eastern front in 1941 while filming a W.W.II newsreel. Karl Fruend left Germany for Hollywood in the nick of time, where he won an Oscar for Cinematography on </span><i><span class="Apple-style-span" style="font-family:verdana;">The Good Earth</span></i><span class="Apple-style-span" style="font-family:verdana;"> and later invented the two camera filming for “I Love Lucy” television series for which he served as cameraman.</span></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Times New Roman; min-height: 15.0px"><span class="Apple-style-span" style="font-family:verdana;"><br /></span></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Times New Roman"><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-family:verdana;"> </span></span><i><span class="Apple-style-span" style="font-family:verdana;">Berlin, Symphony of a Great City</span></i><span class="Apple-style-span" style="font-family:verdana;"> is breathtakingly beautiful and endlessly rewarding, revealing new treasures with each viewing. My wife, in viewing the film, commented that Ruttman gives you the gift of his eye. I think of this film as a gift indeed. The spruced up print that Kino International has released on video is a treasure. The new score on this release, composed and conducted by Timothy Brock, captures the heart and rhythm of the film perfectly. It’s a model of silent film scoring and quite brilliant in its own right. It’s a gift to the film and viewer alike.</span></p><p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Times New Roman"><span class="Apple-style-span" style="font-family:verdana;"><br /></span></p><p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Times New Roman"><span class="Apple-style-span" style="font-family:verdana;">The Timothy Brock scored version can be found on dvd here</span></p><p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Times New Roman"><span class="Apple-style-span" style="font-family:verdana;"> </span><span class="Apple-style-span" style="font-family: Georgia, serif; font-size: 16px; "><a href="http://www.amazon.com/Berlin-Symphony-Great-Walter-Ruttmann/dp/B00480PTUE">Amazon.com: Berlin: Symphony of a Great City: Walter Ruttmann: Movies & TV</a></span></p><p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Times New Roman"><span class="Apple-style-span" style="font-family:verdana;">A silent version can be viewed FREE on on the Internet Archive silent film site: </span></p><div><a href="http://www.archive.org/details/BerlinSymphonyofaGreatCity">Berlin: Symphony of a Great City : Free Download & Streaming : Internet Archive</a></div><div><br /></div>Jeff Scherhttp://www.blogger.com/profile/13779176937443909559noreply@blogger.com1tag:blogger.com,1999:blog-3089731020265264593.post-90489914511882347732011-02-07T09:22:00.000-08:002011-02-07T09:22:06.596-08:00SHORT stories - Dahlia - Michael Langan<iframe width="425" height="344" src="http://www.youtube.com/embed/4LAffRtZG5w?fs=1" frameborder="0" allowfullscreen=""></iframe><span class="Apple-style-span" style="font-family:Helvetica;font-size:medium;"><br /></span><span class="Apple-style-span" style="font-family:Helvetica;font-size:medium;">Michael Langan's Dahlia is breathtaking. He has inverted animation and instead of creating motion by moving characters or objects across the frame he creates a kind of magical stasis where objects in motion are kept center frame while everything else moves around it. Perspectives shift, landscapes slide past, this is a window into an alternate universe of motion and is beautiful to boot. The film is full of witty and poetic variations and is rewarding in view after view. I think I've watched it ten times... today.</span>Jeff Scherhttp://www.blogger.com/profile/13779176937443909559noreply@blogger.com3tag:blogger.com,1999:blog-3089731020265264593.post-29743035719416573072011-01-23T21:54:00.000-08:002011-01-23T23:20:24.457-08:00Went to Mount Vernon and Monticello<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHMJwHkf3B7ClJLClLBedJqWu8qVam3VOcz68nWoGGkd1Ux6caz_XPg9C2tcu48ofhqrtLP0DbC0o5rogawWUD1N2G0f_ExcYPSirIw1FctEb_f553tnmwJEIj6OaeyXj67Ggz6AHgAPk/s1600/IMGP1274.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHMJwHkf3B7ClJLClLBedJqWu8qVam3VOcz68nWoGGkd1Ux6caz_XPg9C2tcu48ofhqrtLP0DbC0o5rogawWUD1N2G0f_ExcYPSirIw1FctEb_f553tnmwJEIj6OaeyXj67Ggz6AHgAPk/s400/IMGP1274.JPG" border="0" alt="" id="BLOGGER_PHOTO_ID_5565627838723570002" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGyH3Y_8duNHNR3TDTNlqkr66hz2qpbYjJou8bYzU3FyOR33pjpZLgAhMMUsUHQ0t7qR6xVdGKwk9zSohsGG91vMor1vcmOivnkfMqPEFbR0-K4jI6FFTcLXk6l_WodGUn0D1wBeyM8cI/s1600/IMGP1196.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGyH3Y_8duNHNR3TDTNlqkr66hz2qpbYjJou8bYzU3FyOR33pjpZLgAhMMUsUHQ0t7qR6xVdGKwk9zSohsGG91vMor1vcmOivnkfMqPEFbR0-K4jI6FFTcLXk6l_WodGUn0D1wBeyM8cI/s400/IMGP1196.JPG" border="0" alt="" id="BLOGGER_PHOTO_ID_5565627827569336882" /></a><span class="Apple-style-span" style="font-family:verdana;">Mount Vernon and Monticello feel like self portraits in </span><span class="Apple-style-span" style="font-size: medium; "><span class="Apple-style-span" style="font-family:verdana;">architecture. Even though both are pickled in shrine, you still get a sense of the men who built them and a whiff of their time. But I constantly thought about the slaves they kept. And as my wife noted in the Monticello bookstore, they had every imaginable book on Jefferson, but NOT the pulitzer prize winning "The Hemmings of Monicello". I watched a guy buy an eight hundred dollar wine rack that was a replica of something Jefferson designed... and had his slaves build. </span></span><div><span class="Apple-style-span" style="font-family:verdana;"><span class="Apple-style-span" style="font-size: medium;"><br /></span></span><div><span class="Apple-style-span" style="font-size: medium; "><span class="Apple-style-span" style="font-family:verdana;"><br /></span></span></div></div>Jeff Scherhttp://www.blogger.com/profile/13779176937443909559noreply@blogger.com0tag:blogger.com,1999:blog-3089731020265264593.post-82614924860535283432010-12-18T23:53:00.000-08:002010-12-18T23:53:18.687-08:00SHORT stories - Pretty, Dead - Jeff Scher<iframe width="480" height="295" src="http://www.youtube.com/embed/N2j4qa0kh9I?fs=1" frameborder="0"></iframe>Jeff Scherhttp://www.blogger.com/profile/13779176937443909559noreply@blogger.com1tag:blogger.com,1999:blog-3089731020265264593.post-70103415570299899512010-12-18T22:43:00.000-08:002010-12-18T23:53:41.142-08:00PRETTY, DEAD<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipwxBsQyJWj0YSYcDh_C26my53kdMJaYrYdELHprg0rUFOXRoHc_Fj7DcLw5phwPIVE47tWmejR6Ek1-e4p4foCTLM9dGxop7dzV2WY18n2fkmm91l-DSUhmT9GwcHNebum4SvLl6EC3w/s1600/pretty+dead+main+title.png"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 223px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipwxBsQyJWj0YSYcDh_C26my53kdMJaYrYdELHprg0rUFOXRoHc_Fj7DcLw5phwPIVE47tWmejR6Ek1-e4p4foCTLM9dGxop7dzV2WY18n2fkmm91l-DSUhmT9GwcHNebum4SvLl6EC3w/s400/pretty+dead+main+title.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5552297588216548194" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuZd2CnETq3utdzKWjDCtNT5ZcOqMks_A5fddrAevIBhh8bEOzgu0_29vahOAHRB3dxO_ClzkI1Z5uMNK3fvoZnsOoh8vX4xBIhQbbwmaxOQ3y_PExURabsZQLLSMJ1furt0ZFMrVMtSw/s1600/pretty+dead+kinder+im+hand.png"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 224px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuZd2CnETq3utdzKWjDCtNT5ZcOqMks_A5fddrAevIBhh8bEOzgu0_29vahOAHRB3dxO_ClzkI1Z5uMNK3fvoZnsOoh8vX4xBIhQbbwmaxOQ3y_PExURabsZQLLSMJ1furt0ZFMrVMtSw/s400/pretty+dead+kinder+im+hand.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5552297377950218146" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI-QMsIBC7_qrNfplj-TVj3M0vKbh81N21EKIoa4sKfplO66tUXjAyHwRWcb1Kouk5fOx6nqNC_XJ3GqH1SzoXgvnp68l7vcd8Xo-cdnXQ_rpFO2zqWF-m3WW6NKl4l0plECcY2eIhpfk/s1600/pretty+dead+girl.png"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 221px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI-QMsIBC7_qrNfplj-TVj3M0vKbh81N21EKIoa4sKfplO66tUXjAyHwRWcb1Kouk5fOx6nqNC_XJ3GqH1SzoXgvnp68l7vcd8Xo-cdnXQ_rpFO2zqWF-m3WW6NKl4l0plECcY2eIhpfk/s400/pretty+dead+girl.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5552297210201150706" /></a><br />I made this film over the past summer. It was commissioned by Showtime for their nifty SHORT stories show. It's a kind of Faux Noir in that it's full of film noir references, but painted with the most un-noir pallet. It's also a kind of Faux feature having been distilled down to the point of abstraction. And it's got one of my favorite Shay Lynch scores. <div><br /><div><span class="Apple-style-span" style="font-family:Helvetica;"><span class="Apple-style-span" style="font-size:medium;"><br /></span></span></div></div>Jeff Scherhttp://www.blogger.com/profile/13779176937443909559noreply@blogger.com0tag:blogger.com,1999:blog-3089731020265264593.post-62969456921377676032010-12-10T10:39:00.000-08:002010-12-10T10:43:35.617-08:00Paul Simon's "Getting Ready For Christmas Day "<iframe width="480" height="295" src="http://www.youtube.com/embed/4qKQTy2Iay0?fs=1" frameborder="0"></iframe><div><br /></div><div><span class="Apple-style-span" style="font-family: arial; font-size: 11px; line-height: 14px; ">"Getting Ready For Christmas Day", by Paul Simon.<br />from the Forthcoming Album "So Beautiful Or So What"<br /></span></div><div><span class="Apple-style-span" style="font-family: arial; font-size: 11px; line-height: 14px; ">Animation/direction; Jeff Scher</span></div>Jeff Scherhttp://www.blogger.com/profile/13779176937443909559noreply@blogger.com0tag:blogger.com,1999:blog-3089731020265264593.post-25919936042865284052010-12-10T09:27:00.000-08:002010-12-10T10:43:15.236-08:00Getting Ready Animation<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPSXFjS7Q6-PndKEkbZI69hoMqeE4L40JDPp9vBJjuggHoqZy6xzBkDxxyi9pbwxw28FVJeGHc9eDgVcmHzh9XaM8DMbcJhFNu0qY61BetMIvXFsxtm1vALRdWHZf1W7DH5sB8DBCfpv8/s1600/getting+ready+still.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 225px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPSXFjS7Q6-PndKEkbZI69hoMqeE4L40JDPp9vBJjuggHoqZy6xzBkDxxyi9pbwxw28FVJeGHc9eDgVcmHzh9XaM8DMbcJhFNu0qY61BetMIvXFsxtm1vALRdWHZf1W7DH5sB8DBCfpv8/s400/getting+ready+still.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5549124503270765570" /></a><br /><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;">This is an image I took in the middle of animated "Getting Ready For Christmas Day", a video for Paul Simon. </span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;">It was shot looking straight down on a light box on an animation stand. The camera, a Sony vx2000 let me shoot negative into a Mac Pro running I-stop motion. Pictured here are a few of the many props I borrowed from my boys. </span><div><br /></div>Jeff Scherhttp://www.blogger.com/profile/13779176937443909559noreply@blogger.com0tag:blogger.com,1999:blog-3089731020265264593.post-23349607608568519652010-05-10T13:26:00.001-07:002010-05-10T13:38:05.063-07:00BEST OF TIMES<div style="text-align: center;"><br /></div><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 208px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid0FiDvvyO3S2oYxtpOkkYuRxR-SqgxmtRoATlPI2oOsn415fEucKngJnEaE_FtML-vlEmPPQ8SoILbweluR9z2bnkqtPkCou6VFRUT3L3Sdi_wZzQy2IPzRj6FRZVWCQXf83rQMQeQrQ/s400/im600_best.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5469742649426034242" /><div style="text-align: center;"><br /></div>The future is here, or at least the latest version of it. It's a <a href="http://vook.com/product.php?book_id=43">Vook</a>, a book with video, or in my case fourteen of my Times films and texts as an app for iphone, ipad and itouch. It's like having a pocket full of short films. It's available through the iphone app store. <div><br /></div><div><span class="Apple-style-span" style=" color: rgb(51, 51, 51); font-family:Verdana, Geneva, sans-serif;font-size:12px;"><span class="Apple-style-span" style="font-size:130%;"><span class="Apple-style-span" style="font-size:14px;"><b><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 235px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbuX6ZQ6_aPzjOaFc5j8ivPMVAxsDBoK5yoR6y6fGlJNkb0U0MSiK9H0kpl6W89MFyxfj8NkQwMACkPHy_m2GCsv6YCFl8naX_C-bA4BSKma-80LJFgpEm5SUDJ5ffWEUaGoTYJ8T2TT4/s400/iphone_best.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5469742659833597874" /></b></span></span><br /><br /></span></div>Jeff Scherhttp://www.blogger.com/profile/13779176937443909559noreply@blogger.com1tag:blogger.com,1999:blog-3089731020265264593.post-16522246012184136442010-05-07T17:03:00.000-07:002010-05-08T14:08:00.436-07:00Happy<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl-niWWmnrbj-ThLbVJcRh61A35nP4L13hhJbEKDTQ_gFB85x_xowNE7y-8gLoAVYznD6lQY2DqQe4NQvdFeV_lX6n2uo_wN-fy9y_mrQXFLMh-XEk0DGoqs4cKjwvic2x9UjSu-CBM50/s1600/IMG_1234.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 300px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl-niWWmnrbj-ThLbVJcRh61A35nP4L13hhJbEKDTQ_gFB85x_xowNE7y-8gLoAVYznD6lQY2DqQe4NQvdFeV_lX6n2uo_wN-fy9y_mrQXFLMh-XEk0DGoqs4cKjwvic2x9UjSu-CBM50/s400/IMG_1234.JPG" border="0" alt="" id="BLOGGER_PHOTO_ID_5469008553757699026" /></a><br />Shot this the other day in the Fulton Mall in Brooklyn. It was shot with an iphone using the "toy Camera" app. Jeff Scherhttp://www.blogger.com/profile/13779176937443909559noreply@blogger.com0tag:blogger.com,1999:blog-3089731020265264593.post-40174066589788405382009-12-22T18:50:00.000-08:002009-12-22T19:50:12.932-08:00Where There's Smoke<div><br /></div>For "Where There's Smoke" I used a clay on glass technique, where the images of fire where "sculpted" into the clay, down to the glass, revealing the light below. I used black modeling clay, which was completely opaque. This was back lit by a photo flood light. There was a sheet of diffusion filter about six inches below the clay on glass layer. It made the light very bright but glowing more than glaring. Then I placed a sheet of glass painted with fire colors over the clay. I used Pebeo Vitrea 160 paint, it's a glossy transparent paint for glass. It's a kind of enamel paint and smells like nail polish, only ten times stronger. I let a heavy coat of red set up a little and then painted into it with a stiff brush. It made flame like striations in the old paint while filling in the lines with yellow and orange. This sheet of glass was positioned in a random way over each sequential frame "drawing". The glass layer was not flush with the clay. As the clay layer was uneven and changed from frame to frame, the flame glass was always a little higher then the clay. This gave the animated flames a lot of extra glow, and because it changed every frame, it also gave it a nice flicker.<div><br /></div><div><br /><div>These images show the clay on the glass with the back light on. The second image shows the painted glass layer, and the third image shows the combined elements.<br /><div><br /><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 225px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6TaKXsCNl1-cVq4oib5uBg7ao5B0xmz6hmUWmRz3tNQ5asE1wmpRV_dK5J5dFXhw_xP6RCtkex2JMwbHviaHjWuZq6wP_LwzHKZTQY7lpljscgJO8fHcrMGrrijS3XyVyveO2dTURYUs/s400/P1020673.JPG" border="0" alt="" id="BLOGGER_PHOTO_ID_5418266257214351570" /><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 225px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIEWzwBAN4-0zgzaK-rZIvf-X7ChbXgnKTYnQy4xORwFxedwbQCuFdj8VgGSR0MT18F-vvyyzAM3BvunDIwzFLiIlZk9gcSAG0TJxrUfflsLeje5BT8GAy0H8Vvz-PXwwf_vuzl0fatxo/s400/P1020674.JPG" border="0" alt="" id="BLOGGER_PHOTO_ID_5418266248122436850" /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKY3Igvh8IS2lpt_8-zWPdmwwwXKkKxhdNpV4AfB6olECBCJ1Zfgm9cdVavI2OBW_JDCtgDFnxc4_UezNpSgBUUmHHq4aqCJ6tACmdymUeIlH8Y1qjuNIGNSwbzx47KysLzV20Y1t515o/s1600-h/P1020675.JPG" style="text-decoration: none;"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 225px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKY3Igvh8IS2lpt_8-zWPdmwwwXKkKxhdNpV4AfB6olECBCJ1Zfgm9cdVavI2OBW_JDCtgDFnxc4_UezNpSgBUUmHHq4aqCJ6tACmdymUeIlH8Y1qjuNIGNSwbzx47KysLzV20Y1t515o/s400/P1020675.JPG" border="0" alt="" id="BLOGGER_PHOTO_ID_5418266265334248050" /></a><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div><div style="text-align: left;">It's like drawing with fire.</div><div style="text-align: center;"><br /></div><div><br /></div></div></div></div></div>Jeff Scherhttp://www.blogger.com/profile/13779176937443909559noreply@blogger.com26tag:blogger.com,1999:blog-3089731020265264593.post-35413185231253700702009-09-17T22:34:00.000-07:002009-09-17T22:47:38.715-07:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhalpPeelfveOozPAGJ5OnWYNWiyEZQFvnO9VBcWNcG8G-6iiQGQ2TzoMpUnf9lz1Pz6cuctkHye7TSe7aP0MuvIh5tlVmX-ivnlYNhbgazgEPFHEZDmWkUR0pg-skSyxEI654Jmg8h2PM/s1600-h/prisoners+of+inertia+log010.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 341px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhalpPeelfveOozPAGJ5OnWYNWiyEZQFvnO9VBcWNcG8G-6iiQGQ2TzoMpUnf9lz1Pz6cuctkHye7TSe7aP0MuvIh5tlVmX-ivnlYNhbgazgEPFHEZDmWkUR0pg-skSyxEI654Jmg8h2PM/s400/prisoners+of+inertia+log010.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5382678937452957010" /></a><br /><p style="margin: 0.0px 0.0px 6.0px 0.0px; text-align: center; line-height: 19.0px; font: 24.0px Helvetica"><b>SOME THINGS I LEARNED ABOUT MAKING FEATURE FILMS</b></p> <p style="margin: 0.0px 0.0px 6.0px 0.0px; line-height: 19.0px; font: 14.0px Helvetica; min-height: 17.0px"><b></b><br /></p> <p style="margin: 0.0px 0.0px 6.0px 0.0px; line-height: 19.0px; font: 14.0px Helvetica"><i>I wrote this in 1989 after completing my first (and only so far) feature film "Prisoners of Inertia", which I wrote and directed . I learned a lot being in the driver's seat of such a big rig. I used to distribute my list to students when I taught at the Columbia in the film program. It was printed in the student filmmaking manuel, but I thought it might be of use to any aspiring filmmakers who might drift through this blog. </i></p> <p style="margin: 0.0px 0.0px 6.0px 0.0px; line-height: 19.0px; font: 14.0px Helvetica; min-height: 17.0px"><b> </b></p> <p style="margin: 0.0px 0.0px 6.0px 0.0px; line-height: 19.0px; font: 14.0px Helvetica"><b>Jeffrey Scher, CU Film Division adjunct professor and experimental filmmaker, shot a feature film several years ago. Shortly after, he jotted down what he'd learned. These are lessons worth repeating.</b></p> <ul style="list-style-type: disc"> <li style="margin: 0.0px 0.0px 1.0px 0.0px; line-height: 19.0px; font: 14.0px Helvetica"><b>Never endanger your own or your cast/crew's safety. If there's risk involved, find another way to do it.</b></li> <li style="margin: 0.0px 0.0px 1.0px 0.0px; line-height: 19.0px; font: 14.0px Helvetica"><b>You set the tone for crew morale—be spirited, supportive, sensitive and sober. If the crew is with you, you'll have a better shoot and a better film.</b></li> <li style="margin: 0.0px 0.0px 1.0px 0.0px; line-height: 19.0px; font: 14.0px Helvetica"><b>Never say No to an actor—always say Yes... and... It doesn't always matter whether you make the right or wrong choice on a tough call—as long as you are willing to make it work.</b></li> <li style="margin: 0.0px 0.0px 1.0px 0.0px; line-height: 19.0px; font: 14.0px Helvetica"><b>Keep direction (to actors) private (between director and actor). It makes actors feel less "on the spot" and gives you more credibility.</b></li> <li style="margin: 0.0px 0.0px 1.0px 0.0px; line-height: 19.0px; font: 14.0px Helvetica"><b>Dress warm: if it's hot, you can discard layers. If you're cold, you lose 35% of your brain functions.</b></li> <li style="margin: 0.0px 0.0px 1.0px 0.0px; line-height: 19.0px; font: 14.0px Helvetica"><b>Plan but stay flexible: be prepared to react to—and incorporate—the unexpected.</b></li> <li style="margin: 0.0px 0.0px 1.0px 0.0px; line-height: 19.0px; font: 14.0px Helvetica"><b>Let scenes play out. Don't jump on the end of a scene with Cut! Keep the tails on your scenes and you'll be much happier in the editing room.</b></li> <li style="margin: 0.0px 0.0px 1.0px 0.0px; line-height: 19.0px; font: 14.0px Helvetica"><b>Think about transitions between scenes, or from scene to scene—especially with time transitions within locations.</b></li> <li style="margin: 0.0px 0.0px 1.0px 0.0px; line-height: 19.0px; font: 14.0px Helvetica"><b>No smoking / drugs / alcohol on set.</b></li> <li style="margin: 0.0px 0.0px 1.0px 0.0px; line-height: 19.0px; font: 14.0px Helvetica"><b>Eat normally—avoid the sugar ups and downs of the craft services table.</b></li> <li style="margin: 0.0px 0.0px 1.0px 0.0px; line-height: 19.0px; font: 14.0px Helvetica"><b>Scripts are written on paper, not stone. Change things to make them work/fit your actors and location. Don't be afraid to respond to on-set revelations. Let actors participate—but then slip away to write actual changes or they will run you ragged.</b></li> <li style="margin: 0.0px 0.0px 1.0px 0.0px; line-height: 19.0px; font: 14.0px Helvetica"><b>Lock away in the back of your mind just what it was about this film that excited you in the first place, as you're very likely to forget in the chaos of production.</b></li> <li style="margin: 0.0px 0.0px 1.0px 0.0px; line-height: 19.0px; font: 14.0px Helvetica"><b>When the light is failing, it's quicker to move actors than to move the camera.</b></li> <li style="margin: 0.0px 0.0px 1.0px 0.0px; line-height: 19.0px; font: 14.0px Helvetica"><b>You did three-quarters of your directing when you cast.</b></li> <li style="margin: 0.0px 0.0px 1.0px 0.0px; line-height: 19.0px; font: 14.0px Helvetica"><b>Accept your choices and work with them and who they are—don't try to make quails out of flamingoes.</b></li> <li style="margin: 0.0px 0.0px 1.0px 0.0px; line-height: 19.0px; font: 14.0px Helvetica"><b>Accept "gifts"—wonderful things that spring up on location. Just don't launch down endless tangents.</b></li> <li style="margin: 0.0px 0.0px 1.0px 0.0px; line-height: 19.0px; font: 14.0px Helvetica"><b>Make triple sure all working props really work.</b></li> <li style="margin: 0.0px 0.0px 1.0px 0.0px; line-height: 19.0px; font: 14.0px Helvetica"><b>Make sure the sound person gets quiet for room tone.</b></li> <li style="margin: 0.0px 0.0px 1.0px 0.0px; line-height: 19.0px; font: 14.0px Helvetica"><b>Stills seem like the most insignificant element on the set, but if you don't get them then, they won't exist. And they're very important later.</b></li> <li style="margin: 0.0px 0.0px 1.0px 0.0px; line-height: 19.0px; font: 14.0px Helvetica"><b>If you know a shot or sequence is important, don't let anybody talk you out of it.</b></li> <li style="margin: 0.0px 0.0px 1.0px 0.0px; line-height: 19.0px; font: 14.0px Helvetica"><b>Accept compromises when you must. Just try to compromise with wit and optimism—and all the creativity you can muster.</b></li> <li style="margin: 0.0px 0.0px 1.0px 0.0px; line-height: 19.0px; font: 14.0px Helvetica"><b>Every movie is 3 movies: the movie you write, the movie you shoot, and the movie you edit. Moments that seemed life or death issues on paper have a magical way on set of being irrelevant, and in the editing room, obtuse.</b></li> <li style="margin: 0.0px 0.0px 1.0px 0.0px; line-height: 19.0px; font: 14.0px Helvetica"><b>Trust your instincts: first guess is always best.</b></li> <li style="margin: 0.0px 0.0px 1.0px 0.0px; line-height: 19.0px; font: 14.0px Helvetica"><b>Remember: it's only a movie!</b></li><div><span class="Apple-style-span" style="font-family:Helvetica, serif;font-size:130%;"><span class="Apple-style-span" style="font-size:14px;"><b><br /></b></span></span></div> </ul>Jeff Scherhttp://www.blogger.com/profile/13779176937443909559noreply@blogger.com3tag:blogger.com,1999:blog-3089731020265264593.post-58385990572449504172009-02-21T19:18:00.001-08:002009-02-22T19:21:37.404-08:00Francis Thompson, NY, NY: A Day in New York (1957)<img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 293px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnQvbAFPTGzWNBBmePIwYHhPpfw0N23Ac0RjFNOnm5RXPBSYxoBXz6CdM_Qx8ZMGmtyV8xdbP1OC0CT7duFW7ah8qwC4M3d9QY28CbH1C1VA2RC9bjWMw3LkcL-klrSY7oXkkgk0gnlS0/s400/N.Y.,+N.Y.++Grand+Central+Clock.JPEG" border="0" alt="" id="BLOGGER_PHOTO_ID_5305642997682934962" /><br /><div style="text-align: center;"><br /></div><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 293px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgesZFbKA4Rr-KftLbNU-DgmCsSjFc5AJrgkmAUrxicQ35iC1Z6sWcnyZ0nK19S-yie2uK3C7Qvs6mc77xaRxvzHyJ5xyUpd0EsL-DSRZ2tEMLDIBqFnUAd7dJJvQAFY_RzQlDE2qxJqG4/s400/N.Y.,N.Y.+Bus+and+Taxi.JPEG" border="0" alt="" id="BLOGGER_PHOTO_ID_5305642999759277810" /><br /><div><br /><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 293px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizdSkWNUXIC2aIY2f8Yhn5Xr5TzSj2Mwpma9BqKK4JiNX2gi-O83J9YiDRYY2px8Y3c5RBU273WHNZq5OJSTn7nEOdgNZi78oSrywC9WPgyP_Zel3jWDi35GAE99JxaC8cm5wM4xByYvI/s400/N.Y.,N.Y.,+Floating+Buildings.JPEG" border="0" alt="" id="BLOGGER_PHOTO_ID_5305643001193558514" /><p><br /></p><p>Francis Thompson made this jewel of a film in 1957. He was a painter and art teacher before discovering filmmaking. Inspired by cubism and futurism, this film is a uniquely cinematic celebration of the spectacle of New York City. It is a city symphony unlike any other as it is simultaneously abstract and figurative. Every shot is altered by anamorphic mirrors or prisms that he assembled and manipulated himself. He turns the city into an optical ballet. He worked alone, almost in secret. He described his production process for a screening of the film on Reel New York. “...it was a magic, secret process of bending, twisting, and turning inside out. It was a self funded project that involved my roaming about New York City with a camera over my shoulder”.<br /><br />He went on to make many more films including the Oscar winning “To Be Alive”, a three screen celebration of life made for the 1964 World’s Fair. He died in 2003 at the age of 95, after returning to painting in his later years in his East 51st Street apartment.</p><br /><p><embed src="http://widgets.vodpod.com/w/video_embed/Groupvideo.2124418" type="application/x-shockwave-flash" allowscriptaccess="never" pluginspage="http://www.macromedia.com/go/getflashplayer" wmode="transparent" flashvars="" width="425" height="350"></embed></p><br /><br /><span style="display:block;font-size:10px;">more about "<a href="http://vodpod.com/watch/1358594-francis-thompson-ny-ny-a-day-in-new-york-1957?pod=jeffscher">Francis Thompson, NY, NY: A Day in Ne...</a>", posted with <a href="http://vodpod.com/vpbutton/install">vodpod</a></span></div>Jeff Scherhttp://www.blogger.com/profile/13779176937443909559noreply@blogger.com3tag:blogger.com,1999:blog-3089731020265264593.post-6449787467945962762009-02-19T11:15:00.000-08:002009-02-19T20:04:11.556-08:00<div style="text-align: justify;"><span class="Apple-style-span" style=" ;font-family:'times new roman';"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy2M51064C4WcItcSJAkl7JsVnQsEvqsQ3Ro2YMMemKJSh2nnMcIeM_TbMVCGCmCXPkKNb-7Y2I0rqLmrc0tDMQGD1TuVRZSwyXaNzk-D_rCTKEedrADX52ynp2e_ggH9c7aDRYi3VpDo/s1600-h/IMGP5719.JPG"><span class="Apple-style-span" style=""><span class="Apple-style-span" style="color: rgb(51, 51, 51);">These photographs were taken recently with a Pentax Optio 750z using the built in 3-d feature. And I have to say, this is one of the most wonderful cameras I've ever used. It can make "free-viewing" stereo photographs, cross you eyes style. In the side by side images below, left and right eye views</span></span></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy2M51064C4WcItcSJAkl7JsVnQsEvqsQ3Ro2YMMemKJSh2nnMcIeM_TbMVCGCmCXPkKNb-7Y2I0rqLmrc0tDMQGD1TuVRZSwyXaNzk-D_rCTKEedrADX52ynp2e_ggH9c7aDRYi3VpDo/s1600-h/IMGP5719.JPG" style=""><span class="Apple-style-span" style=" text-decoration: none; font-family:Georgia;"><span class="Apple-style-span" style=""><span class="Apple-style-span" style="color: rgb(51, 51, 51);"> </span></span></span></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy2M51064C4WcItcSJAkl7JsVnQsEvqsQ3Ro2YMMemKJSh2nnMcIeM_TbMVCGCmCXPkKNb-7Y2I0rqLmrc0tDMQGD1TuVRZSwyXaNzk-D_rCTKEedrADX52ynp2e_ggH9c7aDRYi3VpDo/s1600-h/IMGP5719.JPG"><span class="Apple-style-span" style=""><span class="Apple-style-span" style="color: rgb(51, 51, 51);">are reversed so that crossing your eyes will reverse them back. With crossed eyes, you see the image double, overlapping in the center. The center, merged image when focused on will appear in 3-d. The images are taken one at a time and converted into a single jpeg by the camera. It's called the "cha-cha" method, because of the little step you make to the side for the second picture. The advantage of this method is that you can control the distance between the two exposures as well as the angle. </span></span></a><span class="Apple-style-span" style=" ;font-family:Georgia;"><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style=""><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy2M51064C4WcItcSJAkl7JsVnQsEvqsQ3Ro2YMMemKJSh2nnMcIeM_TbMVCGCmCXPkKNb-7Y2I0rqLmrc0tDMQGD1TuVRZSwyXaNzk-D_rCTKEedrADX52ynp2e_ggH9c7aDRYi3VpDo/s1600-h/IMGP5719.JPG"><span class="Apple-style-span" style="color: rgb(51, 51, 51);">This allows you to increase the depth of the image by increasing the distance between the two exposures - you have the stereo effect of seeing as if your eyes where anything from a few feet to miles apart</span></a></span></span><span class="Apple-style-span" style=" ;font-family:'times new roman';"><span class="Apple-style-span" style=""><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy2M51064C4WcItcSJAkl7JsVnQsEvqsQ3Ro2YMMemKJSh2nnMcIeM_TbMVCGCmCXPkKNb-7Y2I0rqLmrc0tDMQGD1TuVRZSwyXaNzk-D_rCTKEedrADX52ynp2e_ggH9c7aDRYi3VpDo/s1600-h/IMGP5719.JPG"><span class="Apple-style-span" style="color: rgb(51, 51, 51);">. The disadvantage of this method is that anything that moves between the exposures will not merge when viewed. In each of the photographs I took below, there is a kind of subtle stereoscopic reward at the moment the 3d is achieved. </span></a></span></span></span></span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family:'times new roman';"><br /></span></div><div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy2M51064C4WcItcSJAkl7JsVnQsEvqsQ3Ro2YMMemKJSh2nnMcIeM_TbMVCGCmCXPkKNb-7Y2I0rqLmrc0tDMQGD1TuVRZSwyXaNzk-D_rCTKEedrADX52ynp2e_ggH9c7aDRYi3VpDo/s1600-h/IMGP5719.JPG"><img style="text-align: justify;display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; cursor: pointer; width: 400px; height: 300px; " src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy2M51064C4WcItcSJAkl7JsVnQsEvqsQ3Ro2YMMemKJSh2nnMcIeM_TbMVCGCmCXPkKNb-7Y2I0rqLmrc0tDMQGD1TuVRZSwyXaNzk-D_rCTKEedrADX52ynp2e_ggH9c7aDRYi3VpDo/s400/IMGP5719.JPG" border="0" alt="" id="BLOGGER_PHOTO_ID_5304593836912590146" /></a><div style="text-align: center;"><span class="Apple-style-span" style="font-family:'times new roman';">Cadman Plaza Park in Brooklyn. A classic stereo composition with a path leading the eye to the horizon. </span></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo1eQ5RRc6boKZ0DsDgENwT5v8wPGAEbnaHx1EU0ITu0gEQRNS2V0i40yxPwem_DSvIVWp9GKuKdEnEyAkNwOEGZaal3kBBpl_ANd4o0Tb4VIQVv-tDSUMCAn6S4ZCpInplkSkNeLR5WE/s1600-h/IMGP1526.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo1eQ5RRc6boKZ0DsDgENwT5v8wPGAEbnaHx1EU0ITu0gEQRNS2V0i40yxPwem_DSvIVWp9GKuKdEnEyAkNwOEGZaal3kBBpl_ANd4o0Tb4VIQVv-tDSUMCAn6S4ZCpInplkSkNeLR5WE/s400/IMGP1526.JPG" border="0" alt="" id="BLOGGER_PHOTO_ID_5304593829650552786" /></a><div style="text-align: center;"><span class="Apple-style-span" style="font-family:'times new roman';">A very red door in Chelsea.</span></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG6dXk_Tg8cDYZth_CMs5kdWu8w1i9KE4-RrP-JviwjUvxsTkH85P9TacQsTntkURweu5TxEpR_vrk9EKu01Wpzc2x2vGJmRBNyqyP5y-Cvc5QSxGyQan3YFcdFMQ0eWPvDV_DwyOftt8/s1600-h/IMGP6085.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG6dXk_Tg8cDYZth_CMs5kdWu8w1i9KE4-RrP-JviwjUvxsTkH85P9TacQsTntkURweu5TxEpR_vrk9EKu01Wpzc2x2vGJmRBNyqyP5y-Cvc5QSxGyQan3YFcdFMQ0eWPvDV_DwyOftt8/s400/IMGP6085.JPG" border="0" alt="" id="BLOGGER_PHOTO_ID_5304593820305203410" /></a><div style="text-align: center;"><span class="Apple-style-span" style="font-family:'times new roman';">The soon to be extinct television antenna spotted in Brooklyn Heights.</span></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2r8Y-7EJ4seOFiW3ktFnIxI1ZMd5qpqKEDwxqm0MV0-_wY5OuOCmNXu-9SudYVSfaOVHLTcgGF-om_hVn5uvzlxToIuCvcT9AWz6TQaWo0UAiGipyt1AuXjJ53W47T9tBL4xig1mm_rY/s1600-h/IMGP6139.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2r8Y-7EJ4seOFiW3ktFnIxI1ZMd5qpqKEDwxqm0MV0-_wY5OuOCmNXu-9SudYVSfaOVHLTcgGF-om_hVn5uvzlxToIuCvcT9AWz6TQaWo0UAiGipyt1AuXjJ53W47T9tBL4xig1mm_rY/s400/IMGP6139.JPG" border="0" alt="" id="BLOGGER_PHOTO_ID_5304590375357464146" /></a><div style="text-align: center;"> Orange boots waiting to cross Atlantic Avenue.<br /></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmiQXSuAFjaFPvIFXF249l6VjiRdYo9DDizq7ARhITnyTWKdapPw5gPAnBbLEgKuK0ol0jxV6fB087rQ3bZBvyXqNI0vT7XfaIp-6rZUxphhhiyh20JpGCvCsLF4gwOttLLnj2I0dIw-A/s1600-h/IMGP4006.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmiQXSuAFjaFPvIFXF249l6VjiRdYo9DDizq7ARhITnyTWKdapPw5gPAnBbLEgKuK0ol0jxV6fB087rQ3bZBvyXqNI0vT7XfaIp-6rZUxphhhiyh20JpGCvCsLF4gwOttLLnj2I0dIw-A/s400/IMGP4006.JPG" border="0" alt="" id="BLOGGER_PHOTO_ID_5304590370050282770" /></a><div style="text-align: center;"> <span class="Apple-style-span" style="font-family:'times new roman';">Parking lot in mid-town Manhattan - focus on the car in the foreground.</span><br /></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiryZd8GsKYyS8qdV5kViK4xIJwRlVe3W2q6BdEUYnnxPk941y88jrVDuaideCwRktN63QUdYOoHhNRtCk9sk-ZX_pbfkOU8S1AENuSQn76zJe69GCRD-3E9CDJbWB31kVDgU74D__Km4k/s1600-h/IMGP5862.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiryZd8GsKYyS8qdV5kViK4xIJwRlVe3W2q6BdEUYnnxPk941y88jrVDuaideCwRktN63QUdYOoHhNRtCk9sk-ZX_pbfkOU8S1AENuSQn76zJe69GCRD-3E9CDJbWB31kVDgU74D__Km4k/s400/IMGP5862.JPG" border="0" alt="" id="BLOGGER_PHOTO_ID_5304590361478757682" /></a><div style="text-align: center;"><span class="Apple-style-span" style="font-family:'times new roman';">Brooklyn Bridge from Dumbo on a foggy winter morning.</span><br /></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLYPb_lCjneRVbwhipeknCTVvns1LRtz7ctc-DI6ykgcDQ5Oy0VDvoGI5TX1HQSn_FPHejOUBJU6zDTYd0KJWb346-Ds8kUgC969S0w61zDBUF0ppWMZnYZRQvm2EfUBJ_Jqof-KxfPHg/s1600-h/IMGP3701.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLYPb_lCjneRVbwhipeknCTVvns1LRtz7ctc-DI6ykgcDQ5Oy0VDvoGI5TX1HQSn_FPHejOUBJU6zDTYd0KJWb346-Ds8kUgC969S0w61zDBUF0ppWMZnYZRQvm2EfUBJ_Jqof-KxfPHg/s400/IMGP3701.JPG" border="0" alt="" id="BLOGGER_PHOTO_ID_5304590358301664146" /></a><div style="text-align: center;"> <span class="Apple-style-span" style="font-family:'times new roman';">A very telephoto stereo image. The depth of field compression is rather surreal</span>.<br /></div><div style="text-align: center;"> <br /></div></div>Jeff Scherhttp://www.blogger.com/profile/13779176937443909559noreply@blogger.com1tag:blogger.com,1999:blog-3089731020265264593.post-49405771451185338082009-02-18T12:00:00.000-08:002009-02-18T12:15:20.847-08:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7Y-T77IWgOjlrePw_C2gjGG9jqD5w7B9X26Cd_PzAaMOhSdeYYCsLXe-c1K4IJkB3a7jkt1ZYBUPmWwn6Tch9LkJIQZ0CThkGnFpEgYR4NXjIVWcm2EZeikbHbq6yiPlFn69EUDuzOkw/s1600-h/IMGP5021.JPG"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7Y-T77IWgOjlrePw_C2gjGG9jqD5w7B9X26Cd_PzAaMOhSdeYYCsLXe-c1K4IJkB3a7jkt1ZYBUPmWwn6Tch9LkJIQZ0CThkGnFpEgYR4NXjIVWcm2EZeikbHbq6yiPlFn69EUDuzOkw/s320/IMGP5021.JPG" border="0" alt="" id="BLOGGER_PHOTO_ID_5304230161160362194" /></a><br /><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div>To View these images in stereo you must cross your eyes. Don't worry, it's a natural thing your eyes do all day as you look at anything close up. When your eyes are crossed you should see three images. The one in the center should be the right and left images merged. They should be in stereo or 3-d. The effect is dramatic when it happens, but you may need to work a little to get it. Sometimes you may need to rotate your head a little to align the images.</div>Jeff Scherhttp://www.blogger.com/profile/13779176937443909559noreply@blogger.com1tag:blogger.com,1999:blog-3089731020265264593.post-58327078059392921952009-02-18T11:57:00.001-08:002009-02-18T11:57:55.856-08:00Jeff Scherhttp://www.blogger.com/profile/13779176937443909559noreply@blogger.com0